Perplexing Artifacts: Towards a Fusion of Art and Architectural Creative Practice

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(Your) My Bedroom [Blue pencil and watercolour on 2100 x 1500mm paper] : Who/What/When/Where is the Context? My own bedroom in Queenstown? Or, through translating this space onto the paper plane, can it become YOUR 'my bedroom?'

This thesis is about fusing fine arts and architectural creative practice, two disciplines distanced by their approaches to relating the human, non-human, and object. The typical architect's response is to design physical, sensual, and conceptual identities. Meanwhile, the artist creates the lenses for humans to inquire into their relationships.

The architect tends to articulate all into the canon of a singular objective, while the artist questions and illuminates unexpressed faces to the objective.

The Domestic Collapse [Perspex sheet with steel fixings] : Why fuse fine arts and architectural methods to build? The artist's lens sees the domestic is uncontrollable to the designer; undistillable in drawing and building. It is from the perspective of the occupant to violate the still form, and thus, collapse the notion of creating a 'final' design.

Defining the Platonic carpenter and painter embodies the philosophy of why art and architecture divorced into their own disciplines and are reluctant to interact once more. From a certain point of view, architectural making conventions have developed to mimic a final building, while art assigns to perceiving phantoms and, supposedly, regresses architectural understanding.


However, the mimetic nature of transcribing between architectural visualisation and building is misdirection. The orthographic drawing set departs from being an unaltered mimic of a final building, functionally progressing towards an exercise in critiquing represented identities transformed between artifacts. We witness practitioners between fine arts and architecture, like Robin Evans, progress towards the orthographic to embrace the expendable analytical nature of the artistic sketch. The Post-Impressionist artist embraces these transformations and entertains the subjective critical commentary evoked only in the presence of the process artifact. Thus, this thesis exposes the often dismissed characteristic changes between made and represented identities.

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Tracing the Collapse [Acrylic model on overhead projector] : How do we translate between drawing and building? In the collapsed realm of the photogrammetric section, acrylic edges interrupt a field of light. Its physical form registered and transformed in the 2D plane. In this performative arrangement between space and picture, one may trace and expand both the conceptual and measurable link between drawing and building.

How can applying and fusing architectural and artistic creative making practices create critical conversation about their own disciplinary modes of drawing, modelling, and design?


I inquire into the philosophy and product of fine arts and architecture through perceptual and making-based syntheses of familiar architectural identities. In developing my critical stance, I articulate and express, through installation design, a fused art-architectural creative practice that progresses towards a better understanding of their disciplinary conventions.

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Process work: Developing a fused art-architectural methodology